If this is your first visit, be sure to
check out the FAQ by clicking the
link above. You may have to register
before you can post: click the register link above to proceed. To start viewing messages,
select the forum that you want to visit from the selection below.

Arrived today in Eastern PA from Burning Shed. Much too much richness and content to absorb or even comment on in one listen. Lovely digi-book with lyrics and commentary. Three 15-minute-ish songs, including multi-parters, nine tracks (75 minutes) total. First impression: Lush, lyrical, very intense and unusually high energy, complex, some new textures and timbres. Noticed what I believe are Nick D'Virgilio's first three composing credits with BBT (two music co-writes, one solo instrumental composition which is a fully orchestrated, sort of cinematic piece called "Pantheon").

Very positive first impression, but deserves much closer and repeated listening before further comment.

Ordered the cream colored vinyl from Burning Shed a week or so ago. Hoping it arrives soon!

Yesterday I listened through all of Grimspound again for the first time in quite a while, then Second Brightest Star, and then moved on to Folklore. I'm eager to hear this new one and what it sounds like in comparison.

A question for those who have heard it...Have they changed things up a bit for this one, or is it more of the tried and true?

There is a good deal of tried and true, plus they have changed things up a bit. NDV is more front and center not only as a drummer (very aggressive and busy, maybe occasionally too much so), but also as a composer and even as a singer. Rachel’s violin often occupies the same space as Longdon’s vocals, as a solo voice. There is an identifiable backing-vocal ensemble sound (mostly Rachel, Nick, and I think Rickard) that’s new. Some new guitar sounds (one reminded me of Consequences-era Godley and Creme).

But the surprise, to me, is how much the shift in focus away from England has affected the overall feel of the album, but it’s hard to put a finger on why. Most of the ingredients are familiar, but something about the recipe...

So, giving this a listen now. It's definitely doing some different things, though the Spawton compositions are still quintessentially Spawton compositions. I didn't even know who wrote what when I first started listening, and I immediately identified his style in "Roman Stone." And I checked Wikipedia and, yup, that's his.

I think BBT fans will find many familiar elements...long, pastoral musical stretches with Longdon singing breathily and slowly over them... strings... and horns. New elements include some different synth sounds, and the added element of NDV's songwriting style.

I only got to listen to half of it today so far, but I liked what I heard. Iíll say it grabbed me right off the bat in a way that hasnít happened with BBT since English Electric pt 1. Iím hearing some differences in sound and style, compared to the last few releases. You can tell itís them still, but it is an evolution. And I think I detect more synths this time around, which is always a good thing in my book.

Looking forward to hearing the rest. Once Iíve digested it a bit more I will come back and share my thoughts (assuming anyone cares ).

So, giving this a listen now. It's definitely doing some different things, though the Spawton compositions are still quintessentially Spawton compositions. I didn't even know who wrote what when I first started listening, and I immediately identified his style in "Roman Stone." And I checked Wikipedia and, yup, that's his.

I think BBT fans will find many familiar elements...long, pastoral musical stretches with Longdon singing breathily and slowly over them... strings... and horns. New elements include some different synth sounds, and the added element of NDV's songwriting style.

And, yep... "hedgerows" still get a mention in the very last song.

I am interested in this band and anything they do. I have always found NDV a little to self conscious with BBT but got past that. Oddly everything on this new album seems more integrated but it was your point about the voice that fascinated me. Maybe its his ubiquitous approach but this time I am not hearing the words or even the melody an awful lot of the time I am hearing a lot of very slow, very sincere, earnest voice and he doesn't seem to have any swing or rhythmic dance in his delivery. There seems to be so much air in his delivery with an awful lot of words broken down rather than tight and syncopated. Yes there is I'm Alive but thats just faster and if I want to hear that kind of thing Cold Play do the trick and with more panache and humour and dare I say sound more emotional. Maybe because there is more interesting and diverse instrumental work his voice is sounding more anchored in a narrower range to me.

I can not help the feeling listening now is not a joyful discovery but something of a trial. I love EE. I will keep going there is a lot to listen to but thats my immediate instinctive reaction when listening to this new music, I am hearing THAT voice.